Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...

da se ovakva vrst manifestacije kao što
je Spaport podržava i održava u Banja
Luci, bili smo suočeni, u čestim razgovorima
s kustosicama i članovima savjeta, s
mnogim neudomicama: kako reagirati na
kontekst, kako uključiti (blisku) prošlost
a da se ne upadne u zamku eksploatacije
prošlosti, kako stvoriti prostor kritičkog
promišljanja i razgovora, koja je naša
deontološka i etička pozicija, koja je uloga
umjetnosti... Formiranjem kustoskog tima,
razvojem projekta u nekoliko modula i
faza, uključivanjem i drugih gradova BiH,
pronađeni su odgovori na jedan dio dvojbi,
ili nam barem tako izgleda. A da bi se našli
odgovori i na ostala pitanja postavljena u
opisu projekta, potrebno ih je isprovocirati
ili barem pokušati.
Potaknuta prvom asocijacijom na Rane Jade
te prvim susretom s Banja Lukom, počela
sam razmišljati o temi povratka i (ne)
pripadanja zajednici, o postojanju tenzije
između egzila i povratka te suočavanja
s novom realnošću, kao okosnicama za
selekciju “prvog poglavlja” projekta Gdje se
sve tek treba dogoditi, izložbe Can You Speak of
This? -Yes, I Can (Možeš li govoriti o tome? -Da,
mogu).
“Gospodine, da li biste znali da mi kažete
gde se nalazi ulica divljih kestenova? Ne
sećate se? A mora da je negde ovde, imena
se više i ne sećam. Ali znam pouzdano da je
negde ovde...”
“Ulica divljih kestenova”, obavljena u
katalogu izložbe, je ujedno i prva pripovijetka
iz zbirke Rani jadi - za decu i
osetljive. Kiševo djelo je u znaku biografije,
multietničkog porijekla, stapanja raznih
kultura i tragike ličnog iskustva u ratnom i
poratnom periodu. Njegove priče su kratke
i jasne, jednostavno ispričane, kao da je
riječ o nevažnim stvarima koje bi mogle
ostati i neispričane. Ali upravo u svakom
od tih odlomaka, činom prepričavanja,
The dramatic and complex issues are still
present, still current, and Bosnia-Herzegovina
is perhaps the epicentre of all current
troubles in what are called our spaces.
Although aware of the importance of this
kind of event, such as Spaport, being supported
and held in Banja Luka, we were
confronted, in the frequent talks with thecurators
and members of the board with
a great deal of quandaries: how does one
react to the context, how does one bring
in the recent past without falling into the
trap of exploiting the past, how does one
create a space for critical thinking and
discussion about what our deontological
and ethical positions are, what the role of
art is...When the team of curators was once
formed, when the project had developed
into several modules and phases, and other
cities in Bosnia-Herzegovina had been included,
answers were found to some of the
dilemmas, or so it seemed to us. And for
answers to be found to the other questions
posed in the description of the project, it
was necessary to provoke them, or at least
to try to.
Prompted by my first association with
Early Sorrows and my first encounter with
Banja Luka, I started thinking about the
theme of return and of (not) belonging to
the community, of the existence of tension
between exile and return, and facing the
new reality, as the backbones for the selection
of the „first chapter“ of the project
Where Everything Is Yet to Happen, the exhibition
Can You Speak of This? -Yes, I Can.
“Excuse me, sir, could you possibly tell me
where the street of horse chestnuts is? You
don’t recall? Yet it must be here somewhere,
I no longer remember its name. But
I know for sure it is here somewhere...”
“The Street of Horse Chestnuts”, published
in the exhibition catalogue, is also the first
tale in the collection Early Sorrows – For